Camera Gear Review News
Image quality test results from the Canon EOS R7 are now available in the Sigma 10-18mm F2.8 DC DN Contemporary Lens Review.
This is a great little lens!
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The Sigma 10-18mm F2.8 DC DN Contemporary Lens (review) is a fantastic addition to the RF mount APS-C lens options! Don't forget that this lens has a push-on lens hood (vs. a bayonet mount as we are used to).
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From Sigma Corporation of America:
Pricing and availability of SIGMA 10-18mm F2.8 DC DN | Contemporary for Canon RF Mount announced
Ronkonkoma, NY – September 5, 2024 – SIGMA Corporation of America, the US subsidiary of SIGMA Corporation (CEO: Kazuto Yamaki. Headquarters: Asao-ku, Kawasaki-shi, Kanagawa, Japan) is pleased to announce the pricing and availability of the SIGMA 10-18mm F2.8 DC DN | Contemporary for the Canon EOS R camera system.
Originally announced in October 2023, this lens was first released concurrently for L-Mount, Sony E-mount and Fujifilm X Mount, and is now available for Canon RF Mount. This compact, versatile zoom is a perfect partner for the SIGMA 18-50mm F2.8 DC DN | Contemporary which was released for Canon RF Mount in June 2024. The new lens will be available through authorized retail partners in late September 2024 for a retail price of $659.
This is the world's smallest and lightest F2.8 zoom lens designed for APS-C format mirrorless systems*. On the Canon system, the lens covers a 16-28.8mm (35mm equivalent) focal range, with a fast F2.8 constant aperture. Paired with the 18-50mm F2.8 DC DN | Contemporary, this duo of lenses covers a 16-80mm (35mm equivalent) range with the same bright F2.8 maximum aperture, with a combined weight of under 550g (19.5 oz.)
* As an AF F2.8 zoom lens for mirrorless cameras with an APS-C sensor. As of October 2023 by SIGMA.
The SIGMA 10-18mm F2.8 DC DN | Contemporary uses an aspherical concave lens with a large polarization ratio and high refractive index in the first group, reducing the number of elements in the first group and shortening the overall length. Additionally, a new push-on petal type hood has been developed. Thanks to the new structure with a spring and lever which is not utilized by any other manufacturer, the hood has been made both thinner and smaller, which also contributes to the overall compactness of the lens.
The optical design of the lens delivers a short 11.6cm (4.6 in.) minimum focusing distance and a maximum magnification ratio of 1:4 at the wide end, allowing for close-up photography with pleasing background separation. The optical design also minimizes focus breathing, and the autofocus system delivers swift, quiet AF during both still and video use.
Thanks to its high optical quality and compact size, the SIGMA 10-18mm F2.8 DC DN | Contemporary lens is an excellent choice for travelers, adventure photographers, vloggers, and family photographers who want great image quality when paired with today's leading lightweight crop-sensor cameras on multiple platforms.
Learn more here: Sigma 10-18mm F2.8 DC DN Contemporary Lens
Launch schedule of SIGMA 10-18mm F2.8 DC DN | Contemporary for Canon RF Mount
SIGMA Corporation is pleased to announce the launch schedule of SIGMA 10-18mm F2.8 DC DN | Contemporary for Canon RF Mount.
Supplied accessories: LENS HOOD LH706-02, FRONT CAP LCF-67 III, REAR CAP LCR II
New Mount: Canon RF Mount
Launch date: September 26, 2024
* Product appearance and specifications are subject to change.
#SIGMA #SIGMA1018mmF28Contemporary #SIGMAContemporary #SIGMADCDN #SIGMARFMount
Create expressive images on the go with the world's smallest and lightest ultra-wide-angle zoom lens for APS-C cameras*.
* As an AF F2.8 zoom lens for mirrorless cameras with an APS-C sensor. As of October, 2023 by SIGMA.
[ Long-awaited Canon RF Mount addition ]
SIGMA's APS-C size mirrorless dedicated zoom lens, the 10-18mm F2.8 DC DN | Contemporary, will now be available for the Canon RF Mount. This addition allows users to enjoy high-performance, and high-quality SIGMA zoom lenses in native mount on their Canon RF Mount system even more.
A control algorithm including AF drive and communication speed optimization has been developed specifically for Canon RF Mount interchangeable lenses. In addition to realizing high-speed AF, the lens also supports Servo AF and in-camera aberration correction*. The mount is rubber-sealed to cater for use in a variety of environments.
* Available on supported cameras only.
Mount Conversion Service is available to convert other mounts of SIGMA 10-18mm F2.8 DC DN | Contemporary to Canon RF Mount.
[ Features ]
Large-aperture, ultra-wide-angle zoom with expressive imaging capabilities
By utilizing unique optics which have been designed to correct lens aberrations, the SIGMA 10-18mm F2.8 DC DN | Contemporary produces images that are sharp across the entire image.
Extremely compact and lightweight
The SIGMA 10-18mm F2.8 DC DN | Contemporary is the world’s smallest and lightest ultra-wide-angle zoom lens for APS-C cameras1, with a length of 62.0mm, a maximum diameter of f72.2mm, and a weight of 270g2. The lens can be carried around with ease or attached to an APS-C mirrorless camera and a gimbal to create an ultra-portable video setup.
1 As an AF F2.8 zoom lens for mirrorless cameras with an APS-C sensor. As of October, 2023 by SIGMA. 2 The values are for Canon RF Mount.
Ideal for landscapes, travel, video and online content creation
With ultra-wide focal length, portable body and razor-sharp optics, the SIGMA 10-18mm F2.8 DC DN | Contemporary is the perfect portable option for landscape, travel, interior and street photography. It also boasts impressive video capability owing to its bright F2.8 aperture, which makes it well-suited to shooting in low-light environments and creating a shallow depth-of-field. The ultra-wide angle-of-view is ideal for hand-held vlogging that requires the capture of both the subject and the environment.
[ Key Specifications ]
The following specifications are for Canon RF Mount:
Lens Construction: 13 elements in 10 groups
(3 FLD, 1 SLD and 4 aspherical lenses)
Angle of view (APS-C):106.6° (W) - 73.4° (T)
Number of diaphragm blades: 7 (rounded diaphragm)
Minimum aperture: F22
Minimum focusing distance: 11.6cm (W) - 19.1cm (T) / 4.6in. (W) - 7.6in. (T)
Maximum magnification ratio: 1:4 (W) - 1:6.9 (T)
Filter size: 67mm
Dimensions (Max. Diam. x Length): 72.2 x 62.0mm / 2.8 x 2.4 in.
Weight: 270g / 9.5 oz.
[ Accessories: Supplied ]
LENS HOOD LH706-02:0085126 941093
FRONT CAP LCF-67 III:0085126 929473
REAR CAP LCR II (Canon RF Mount):0085126 941468
[ Accessories: Optional ]
SIGMA WR PROTECTOR 67mm
SIGMA PROTECTOR 67mm
SIGMA WR UV FILTER 67mm
SIGMA WR CIRCULAR PL FILTER 67mm:
Just posted: Sigma 28-105mm F2.8 DG DN Art Lens Review.
This lens is a high-performer.
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Just posted: Tamron 28-300mm F4-7.1 Di III VC VXD Lens Review.
What would a superzoom lens add to your kit?
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Image quality are now available on the Sony E 16-50mm F3.5-5.6 OSS II PZ Lens page.
The version I bar was not set high, and the II easily cleared it.
Compared to the Sony E 16-50mm F3.5-5.6 OSS PZ Lens
Here are more comparisons:
Compared to the Sony E 16-55mm F2.8 G Lens
Compared to the Sigma 18-50mm F2.8 DC DN Contemporary Lens
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Just posted: llano Fast Dual Camera Battery Charger Review.
If your Canon LP-E6NH and Sony NP-FZ100 batteries are in the same condition as mine, this review will be highly relevant.
The llano Fast Dual Camera Battery Charger is available at Amazon, where the user reviews are quite positive. Use coupon code llano0420 to save 10% (use code llano15DE to save 15% at Amazon DE).
Amazon US: Canon LP-E6NH | Sony FZ100
Amazon UK: Canon LP-E6NH | Sony FZ100
Amazon CA: Canon LP-E6NH | Sony FZ100
Amazon DE: Canon LP-E6NH | Sony FZ100
The Canon EOS R5 Mark II begins shipping tomorrow. Are you ready?! Receiving a camera as incredible as this one is exciting, and using it is super fun. Enjoy the anticipation.
I've been updating the Canon EOS R5 Mark II review page, and now is a good time to re-read it.
The Canon EOS R5 Mark II Setup page may also be soon relevant to you.
If you didn't preorder the Canon EOS R5 Mark II, now is the next best time to do so: B&H | Adorama | Canon USA | Amazon (all available countries) | WEX | Camera Canada
Just posted: Canon RF-S 3.9mm F3.5 STM Dual Fisheye Lens Review.
Niche lens that inspires creativity.
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Image quality test results are now available on the Tamron 28-300mm F4-7.1 Di III VC VXD Lens page.
See the optical performance of this new super zoom lens.
Compared to the Canon RF 24-240mm F4-6.3 IS USM Lens
Compared to the Sony FE 24-240mm F3.5-6.3 OSS Lens
Compared to the Tamron 28-200mm f/2.8-5.6 Di III RXD Lens
Compared to the Tamron 50-300mm F/4.5-6.3 Di III VC VXD Lens
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Noise test results are now available on the Canon EOS R5 Mark II page.
Read the image quality discussion.
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Resolution test results from the Canon RF 85mm F1.2 L USM Lens are now available on the Canon EOS R5 Mark II page.
As expected, these results appear identical to the R5 results — excellent.
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I have a fresh-from-the-factory Canon EOS R5 Mark II in my hands, and it is time to set it up. I use the following steps to prepare a new (or reset to factory settings) R5 II for use. While the number of steps in this setup guide may seem daunting, the process is not difficult. You've got this.
- Open the box, find the battery, place it in the charger, and plug it in.
- record the serial number, and add the camera to your insurance policy (you're covered, right?)
- While the battery is charging, unpack the other items you want from the box.
- Consider downloading and installing the latest Canon imaging software, Canon Digital Photo Pro (DPP) and EOS Utility, to ensure support for your camera model.
- Insert a memory card (we'll format the card in a later step), insert a charged battery, and power the camera on.
- The language, and then date, time, and zone setup prompts will appear during the first startup. Use the rear control dial and set button to update this information.
- Scroll through all of the menu tabs to configure the camera as follows:
- Shooting Menu, Tab 1: Img type/size: Use the top control dial to set RAW to "RAW", and use the rear control dial to set JPEG/HEIF to "-" (RAW image files provide the highest quality, making them especially valuable for post-processing)
- Shooting Menu, Tab 3: Picture Style: Neutral with Sharpness = 1 (the low contrast "Neutral" picture style provides a histogram that best shows the available dynamic range. I change the Picture Style to "Standard" during post-processing.)
- Shooting Menu, Tab 4: White balance: AWB W (White) (I seldom use another white balance setting while shooting, though I often adjust white balance modestly during post-processing)
- Shooting Menu, Tab 4: Lens Aberration Correction: All options "OFF" (Includes Peripheral illumination correction, Distortion correction, Digital Lens Optimizer, Chromatic aberration correction, and Diffraction correction. I suggest that most photographers enable Chromatic aberration correction)
- Shooting Menu, Tab 4: High ISO speed NR: Low (or Off) (noise reduction is destructive to image details — I prefer to add noise reduction sparingly during post-processing)
- Shooting Menu, Tab 6: Release shutter without card: OFF (only in a retail store would you want to press the shutter release without saving the image file)
- Shooting Menu, Tab 7: Customize Quick Controls: AF, One Shot - Servo, Drive mode, Anti-flicker shoot, Subject to detect, Focus bracketing, Pre-continuous Shooting, IS Mode, AF-MF, Switch focus/control ring, Eye control (pressing the "Q" button provides direct access to these settings)
- Shooting Menu, Tab 8: Image review: Review duration: 4 sec. (the Viewfinder review option is disabled by default, avoiding interference with the shooting process)
- Shooting Menu, Tab 8: Blackout-free display: ON
- Shooting Menu, Tab 9: Shooting info. disp.: Screen info. settings: Enable 1, 2, and 3; edit screen 2 to show only: Basic shooting info and Electronic level; edit screen 3 to show only: Basic shooting info, Histogram, and Electronic level
- Shooting Menu, Tab 9: Shooting info. disp.: VF info/toggle setting: Enable 1, 2, and 3 (default); edit screen 2 to show only: Electronic level; edit screen 3 to show only: Histogram and Electronic level
- Shooting Menu, Tab 9: Shooting info. disp.: Grid display: 3x3 (sometimes the 3x3 grid is helpful for alignment checking while not complicating the view)
- Shooting Menu, Tab 9: Shooting info. disp.: Histogram disp: RGB, Small (show the brightness levels of each channel separately and do not let the graph to take up much space in the display as it can affect the perceived composition)
- Shooting Menu, Tab 9: Shooting info. disp.: Electronic level size: Small (great new feature)
- Shooting Menu, Tab 9: Shooting info. disp.: Vertical exp level: Off
- AF Menu, Tab 2: Subject to detect: Select Auto, People, Animals, Vehicles, or None per your current shooting scenario
- AF Menu, Tab 4: Servo 1st image priority: Focus priority (accurate focus is more critical to me than the timing)
- AF Menu, Tab 5: Limit AF Areas: Enable Spot AF, 1-point AF, Flexible Zone AF 1, Whole area AF, Spot AF Tracking Off, 1-point AF Tracking Off, and (limit the options to those you expect to use, note the tracking off options)
- AF Menu, Tab 5: Orientation linked AF point: Separate AF pts: Pt only (instructs the camera to individually save the selected AF points for vertical and horizontal orientation)
- AF Menu, Tab 6: MF peaking settings: Peaking: On, Level: Low
- Playback Menu, Tab 3: Magnification: Magnificatn (apx) 10x (allows one button press during playback to zoom deeply into the image); Maintain position: Enable (maintains the position within the image when changing images)
- Playback Menu, Tab 4: Playback information display: 1 and 2 only; change view 2 histogram to RGB
- Playback Menu, Tab 4: Highlight Alert: Enable (overexposed and nearly overexposed pixels will blink during image review)
- Playback Menu, Tab 4: Playback grid: 3x3
- Networking Menu, Tab 1: Airplane mode: On (if not using wireless functions)
- Tools Menu, Tab 1: Format card (always format a memory card in-camera before using it — all data on the card will be lost)
- Tools Menu, Tab 1: Auto Rotate: On computer (images are properly rotated when viewed on a computer but are always oriented to fill the LCD when viewed on the camera)
- Tools Menu, Tab 2: Beep: Disable (probably no one wants to hear your camera's beep)
- Tools Menu, Tab 4: Power saving: Screen dimmer: Disable (resolves an annoyance — the LCD is as useful off as dimmed)
- Tools Menu, Tab 5: Custom shooting mode (C1, C2, C3): Auto update set: Enable; Program modes as desired
- Tools Menu, Tab 6: Copyright information: enter as desired, your name and company name are logical choices
- Customized controls Menu, Tab 1: Customize buttons: Multi-function button: Dial function and press info to set details: Top row: Drive mode, AF area, Exposure compensation; Second row: One shot - Servo, ISO, Flash exposure compensation; LCD panel illumination button: Eye control
- Customized controls Menu, Tab 1: Multi function lock: All unchecked (Disables the lock feature in case I inadvertently select it by not turning the power switch far enough)
- Customized controls Menu, Tab 2: Touch & drag AF settings: ON (great AF area selection option)
- Customized controls Menu, Tab 2: RF lens MF focus ring sensitivity: Linked to rotation degree (turns off the variable manual focus ring adjustment rate)
- Customized controls Menu, Tab 3: Customize buttons for playback: Set: Magnify/Reduce
- Customized controls Menu, Tab 4: Eye control: Eye control: On; Pointer display settings: Color: White, Display size: Small
- Customized controls Menu, Tab 4: Eye control: Calibration (CAL): (follow the guided instructions to set up this feature, performing numerous calibration attempts improves this feature's accuracy), a lens is optional during calibration
- Custom Functions Menu, Tab 1: Restrict shooting modes: On; I deselect Fv and select C2 and C3. Consider enabling A+ mode to let the camera make all decisions.
- Custom Functions Menu, Tab 1: Bracketing auto cancel: OFF (I want to control when AEB (Auto Exposure Bracketing) is enabled and disabled)
- Custom Functions Menu, Tab 1: Bracketing sequence: -0+ (if images are captured in brightness sequence, they are easier to work with during post-processing. Capturing the darkest image first means quickly securing the first frame)
- Custom Functions Menu, Tab 3: Continuous shooting speed: 30, 20, and 10 (provides equal differences, with one shot mode adding "1")
- Custom Functions Menu, Tab 4: Default erase option: [Erase] selected (less safe to inadvertent deletion, but one less step press is required to delete an image)
- Custom Functions Menu, Tab 4: Av setting without lens (permits camera setup without mounting the intended lens)
- Custom Functions Menu, Tab 5: Retract lens on power off: OFF (prevents a carefully selected focus distance from resetting when the camera auto powers off)
- My Menu: Add My Menu 1; Register the following options: Focus bracketing, Pre-cont. shooting, Shutter mode, IS (Image Stabilizer) mode, Format card, Number of bracketed shots; reorder menu items as desired
- My Menu: Add My Menu 2; Register the following options: Display (exposure) simulation (the "Off" setting is helpful when using flash), Date/Time/Zone (primarily for checking the time); reorder menu items as desired
- While looking at the menu through the EVF, adjust the diopter until the scene is sharp for your eye
I make additional menu and other setting changes based on current shooting scenarios, but this list covers my initial camera setup process.
To copy this configuration means you intend to shoot as I do, including in RAW-only format. While this setup works optimally for me, you should adjust the camera setup to your needs.
If you can't remember your menu setup parameters, keeping an up-to-date list such as this one is a great idea. Anytime the camera is set to the factory state, such as when serviced or when acquiring an additional camera, the list will ensure all settings are quickly re-established. Consider saving the camera settings to a card (Tools menu, tab 5, Save/load cam settings on card) for an easy restore or replication. The setup file can be copied to a computer drive for long-term storage.
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Just posted: Canon AD-E1 Multi-Function Shoe Adapter Review.
What is the Canon AD-E1 Multi-Function Shoe Adapter? Do you need one? Find out now.
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I've been using a pair of Alpha 1 cameras for Sony lens testing and for field use when a Sony lens better fit the need. The flagship a1 is an outstanding camera. What are the differences between the Canon EOS R5 Mark II and the Sony Alpha 1?
Check out the R5 II vs. a1 specification comparison along with the visual comparison of these cameras.
Here is a summary of the R5 II's advantages:
- Eye Control AF vs. no (dramatically faster AF point or area positioning)
- Pre-continuous shooting (hindsight is far clearer than foresight, and recording an image of an action in the near past is game-changing)
- AF working range of EV -7.5 to 21 vs. EV -4 – 20 (the Canon camera focuses in considerably darker environments)
- 6144-zone metering vs. 1200-zone (more areas evaluated yields potential improvement in auto exposure results)
- More framerate options – 30, 20, 15, 12, 10, 7.5, 5, 3, 2, and 1 compared to 30, 20, 15, and 5 (with electronic shutter, but the mechanical shutter adds 10, 8, 6, and 3)
- Up to 8k DCI 60p RAW vs. 8K 30p
- 2.1 million dot vari-angle LCD vs. 1.44 million tilt
- CFexpress Type B and UHS-II SD slots vs. dual multi slot for UHS-II SD and CFexpress Type A (Type B cards are faster and less expensive than A cards, but A cards are smaller and faster than SD cards)
- 8.5-stop IBIS vs. 5.5
- Neural Network upscaling (2x larger in both dimensions to 179 megapixels) and noise reduction processing in camera (both with JPG output only)
- High-Frequency Anti-Flicker shooting (evaluates the scene and precisely adjusts the shutter speed to avoid banding and flicker, including from LED signage)
- 802.11ax Wi-Fi 6 GHz vs. 802.11ac (5 GHz)
- 4-Channel 24-Bit LPCM Audio vs. 2-Channel 16-Bit
- Modestly lighter
- Far lower price
That is a solid list.
Here are the a1's advantages:
- 50 megapixels vs. 45 megapixels (50 is my favorite, but 45 is close)
- 3.8 ms imaging sensor readout speed vs. 6.3 (faster readout reduces electronic shutter issues)
- +/- 5 stops exposure compensation vs. 3
- 240 fps EVF vs. 120
- Pixel Shift Multi Shooting (provides dramatically higher resolution after post processing, but everything in the frame must be still)
- 0.64" (16mm) 9.44 million dot EVF vs. 0.50" (12.7mm) 5.76 million dots
- 1/400 max flash sync vs. 1/250
- Ethernet port vs. available with accessory grip
- Modestly smaller
Comparing across brands is significantly challenged by the differing interface and ergonomics, and these two cameras have significant differences in those regards. Advantages will often be determined by personal preference.
The bottom line is that both cameras are incredible and my two favorites. However, the R5 II's $2,199.00 lower price makes it a considerably better deal.
If you have not already done so, order the R5 II immediately if you have even a remote interest in it.
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The a9 series targets sports and action, and the a9 III is Sony's latest model in that series. This camera was introduced earlier in the same year as the R1, and includes some outstanding features.
Check out the R1 vs. a9 III specification comparison along with the visual comparison of these cameras.
What are the differences between the Canon EOS R1 and the a9 III? Here are the R1 advantages:
- ISO 100-102400 expandable to 50 and 409600 vs. 250–25600 and 125 to 51200 (notably, the a9 III omits the lowest noise settings)
- Eye Control AF vs. no (dramatically faster AF point or area positioning)
- AF working range of EV -7.5 to 21 vs. EV -5 – 20 (the Canon camera focuses in darker environments)
- 6144-zone metering vs. 1200-zone (more areas evaluated yields potential improvement in auto exposure results)
- 230 image RAW buffer vs. 106
- Has 6K RAW
- 802.11ax Wi-Fi 6 GHz vs. 802.11ac (5 GHz)
- Has a top LCD panel
- Dual CFexpress Type B slots vs. dual multi slot for SD, SDHC, SDXC (UHS-I/II)/CFexpress Type A (Type B cards are faster and less expensive than A cards, but A cards are smaller and SD cards are less expensive)
- Higher capacity battery rated for 1330 LCD and 700 EVF vs. 530 and 400 (the a9 III's battery grip doubles these numbers, closing much of the gap)
- Neural Network upscaling (2x larger in both dimensions to 179 megapixels) and noise reduction processing in camera (both with JPG output only)
- 8.5-stop IBIS vs. 8
The a9 III's advantages are:
- Global shutter, 0 ms imaging sensor readout speed vs. 2.7 ms (While this difference seems small, the global shutter can eliminate some issues, such as LED signage flicker)
- 120 fps continuous shooting vs. 40 (while 40 fps is sufficient for most needs, the 120 fps difference is noticeable)
- Metering range of EV -5 – 17 compared to EV -3 – 20
- +/- 5.0 EV exposure compensation vs. +/- 3
- 1/80000 shutter vs. 1/64000 (likely few us us will care about this difference)
- Flash sync to 1/80000 vs. 1/400
- 0.64" (16mm) EVF vs. 0.50" (12.7mm)
- 240 fps EVF refresh rate vs. 120 fps
- 4-axis multi-angle touchscreen LCD vs. vari-angle
- Considerably smaller and lighter: 26.0 vs. 39.3 oz (737 vs. 1115 g) (but the a9 III's grip adds 10.23 oz (290 g) and considerable size, closing the gap)
- Slightly less expensive
Again, comparing across brands is significantly challenged by the differing interface and ergonomics, and these two cameras are vastly different. Those advantages are a personal preference.
If you have not already done so, order the R1 immediately if you have even a remote interest in it.
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Let's compare a pair of outstanding Sony cameras, starting with the flagship Sony Alpha 1. Check out the R1 vs. Alpha 1 specification comparison along with the visual comparison of these cameras.
What are the differences between the Canon EOS R1 and the a1? Here are the R1 advantages:
- 40 fps for 230 RAW images vs. 30 fps for 238 (96 frame using the comparable lossless compression) (having faster continuous shooting available is an advantage, but 30 fps is really fast)
- 12 fps with mechanical shutter vs. 10 (only matters if you use it)
- More framerate options – 40, 30, 20, 15, 12, 10, 7.5, 5, 3, 2, and 1 compared to 30, 20, 15, and 5 (with electronic shutter, but the mechanical shutter adds 10, 8, 6, and 3)
- 2.7 ms imaging sensor readout speed vs. 3.8 (while technically a win for the R1, you won't likely notice the difference, and the Sony is reading 50 megapixels at that speed)
- AF working range of EV -7.5 to 21 vs. EV -4 – 20 (the Canon camera focuses in considerably darker environments)
- ISO 100-102400 expandable to 50 and 409600 vs. 100–32000 and 50 to 102400 (the R1 will show less noise at the pixel level, but the two should nearly equalize if the a1 image is down sampled to 24 megapixels — and you won't want to use the highest ISO settings)
- 1/64000 vs. 1/32000 (crazy fast holds a small niche advantage over extremely fast)
- Eye Control AF vs. no (dramatically faster AF point or area positioning)
- Pre-continuous shooting (hindsight is far clearer than foresight, and recording an image of an action in the near past is game-changing)
- 6144-zone metering vs. 1200-zone (more areas evaluated yields potential improvement in auto exposure results)
- Electronic shutter flash sync up to 1/400 sec. (some sources say 1/320) vs. 1/200
- 2.1 million dot vari-angle LCD vs. 1.44 million tilt
- Has a top LCD panel
- Dual CFexpress Type B slots vs. dual multi slot for SD, SDHC, SDXC (UHS-I/II)/CFexpress Type A (Type B cards are faster and less expensive than A cards, but A cards are smaller and SD cards are less expensive)
- Neural Network upscaling (2x larger in both dimensions to 179 megapixels) and noise reduction processing in camera (both with JPG output only)
- 8.5-stop IBIS vs. 5.5
- High-Frequency Anti-Flicker shooting (evaluates the scene and precisely adjusts the shutter speed to avoid banding and flicker, including from LED signage)
- 802.11ax Wi-Fi 6 GHz vs. 802.11ac (5 GHz)
- 4-Channel 24-Bit LPCM Audio vs. 2-Channel 16-Bit
- Higher capacity battery rated for 1330 LCD and 700 EVF vs. 530 and 430 (the a1's battery grip doubles these numbers, closing much of the gap)
- Slightly less expensive
Despite being introduced 3 years earlier, the a1 still holds advantages:
- 50 megapixel vs. 24 (a big difference, but not everyone finds the higher resolution worth the increased storage size and processing time)
- Touch and drag AF area slection vs. not available
- +/- 5 stops exposure compensation vs. 3
- 240 fps EVF vs. 120
- 8K 30p vs. 6K 60p movies
- Pixel Shift Multi Shooting (provides dramatically higher resolution after post processing, but everything in the frame must be still)
- 0.64" (16mm) EVF vs. 0.50" (12.7mm)
- Considerably smaller and lighter: 26.0 vs. 39.3 oz (737 vs. 1115 g) (but the a1's grip adds 10.23 oz (290 g) and considerable size, closing the gap)
Comparing across brands is significantly challenged by the differing interface and ergonomics, and these two cameras are vastly different in those regards. Advantages will often be determined by personal preference.
If you have not already done so, order the R1 immediately if you have even a remote interest in it.
More Information
The Canon EOS R3 seemed like the mirrorless entrant to the 1 series, but Canon assured us that it was not. However, it was the former performance leader of Canon's MILC lineup.
The R1 now shadows the R3's performance.
Check out the R1 vs. R3 specification comparison along with the visual comparison of these cameras. What are the differences between the Canon EOS R1 and the R3? Here are the R1's advantages:
- 40 fps for 230 RAW frames vs. 30 fps for 150 (having faster continuous shooting available is an advantage, but 30 fps is really fast, and 150 is a lot)
- Custom high-speed continuous shooting supports higher frame rates
- 2.7 ms imaging sensor readout speed vs. 4.8 (faster is better, but this difference will seldom be noticeable)
- ISO expansion up to 409600 vs. 102400 (you will not want to use these settings)
- Cross-type AF points (holds the potential for higher AF precision)
- 6144-zone metering vs. 384-zone (more areas evaluated yields potential improvement in auto exposure results)
- Smart Controllers with half-press sensitivity for additional control
- 9.44 million dots, 0.90x EVF vs. 5.76 and 0.76x (bigger and better)
- Dual CFexpress type B memory card slots vs. CFexpress type B and SD (though some may prefer having an SD slot available)
- M.Fn3, WB, and second Info buttons
- Pre-continuous shooting (hindsight is far clearer than foresight, and recording an image of an action in the near past is game-changing)
- DIGIC X plus DIGIC Accelerator processors for exceptionally fast and intelligent AF and AE calculations
- IBIS provides up to 8.5 stops of shake correction vs 8 (while 8.5 is better than 8, the difference seems modest)
- Improved Eye Control AF (potentially a big deal if the R3's Eye Control was not compatible with your eye)
- Adjustable frame rates (30, 20, 15, 12, 10, 7.5, 5, 3, 2, and 1 fps)
- Full HD at 240p vs. 120p
- Pre-recording (3 or 5 seconds) (hindsight is far clearer than foresight)
- HDMI Type-A vs. Type-D
- Neural Network upscaling (2x larger in both dimensions to 179 megapixels) and noise reduction processing in camera
- 802.11ax Wi-Fi 6 GHz vs. 802.11ac (5 GHz)
- Longer battery life rating (1330 LCD and 700 EVF vs. 860 and 620)
Here are the R3's advantages:
- 4.15 million dot LCD vs. 2.1 million
- modestly smaller and lighter
- Lower price
If that last bullet did not exist, the easy choice would be the R1. The last bullet is supported, and the R3 provides significant performance for its cost. Still, the most demanding professionals will want the R1.
The R5 II and R1 now shadow the EOS R3, the former performance leader of the MILC lineup.
Check out the R5 II vs. R3 specification comparison along with the visual comparison of these cameras. What are the differences between the Canon EOS R5 Mark II and the R3? Here are the R5 II's advantages:
- 45-megapixel imaging sensor vs. 24 (the difference is big, but not everyone wants the higher resolution)
- Pre-continuous shooting (hindsight is far clearer than foresight, and recording an image of an action in the near past is game-changing)
- DIGIC X plus DIGIC Accelerator processors for exceptionally fast and intelligent AF and AE calculations
- IBIS provides up to 8.5 stops of shake correction vs 8 (while 8.5 is better than 8, the difference seems modest)
- Improved Eye Control AF (potentially a big deal if the R3's Eye Control was not compatible with your eye)
- Adjustable frame rates (30, 20, 15, 12, 10, 7.5, 5, 3, 2, and 1 fps)
- 6144-zone metering vs. 384-zone (more areas evaluated yields potential improvement in auto exposure results)
- 8k vs. 6K (higher resolution is better if you use 8k)
- Pre-recording (3 or 5 seconds) (hindsight is far clearer than foresight)
- HDMI Type-A vs. Type-D
- Neural Network upscaling (2x larger in both dimensions to 179 megapixels) and noise reduction processing in camera
- 802.11ax Wi-Fi 6 GHz vs. 802.11ac (5 GHz)
- Holds 4260 mAh of power in the vertical grip vs. 2750 mAh
- Considerably smaller and lighter (without vertical grip)
- Lower price (though R3 promotions are equalizing this advantage)
Here are the R3's advantages:
- Supports high-speed continuous shooting for 150 RAW images vs. 93
- Custom high-speed continuous shooting supports higher frame rates
- Up to 1/64000 shutter speed vs. 1/32000 (crazy fast vs. extremely fast)
- Smart Controllers (powerful controls after some acclimation)
- 4.15 million dot LCD vs. 2.1 million
- Integrated vertical grip, LAN port, and GPS (outstanding grip ergonomics, the grip, port, and GPS are available accessories for the R5 II)
- Superior dust and weather resistance (with both bodies significantly sealed, will we notice the difference?)
- More controls and buttons (these make the camera faster and easier to use. And, more complicated?)
- More powerful 2750 mAh LP-E19 battery pack vs. 2130 mAh (but the R5 II holds 4260 mAh in the vertical grip)
While most photographers will find the R5 II better suited for their needs, a niche group of photographers will find the R3's advantages important.
If you have not already done so, order the R5 II immediately if you have even a remote interest in it.
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Let's compare the Canon EOS R5 Mark II to the Canon EOS R6 Mark II.
Check out the R5 II vs. R6 II specification comparison along with the visual comparison of these cameras. What are the differences between the Canon EOS R5 Mark II and the R6 II? Here are the R5 II's advantages:
- 45-megapixel backside illuminated (BSI) imaging sensor vs. 24 non-BSI (the difference is big, but not everyone needs the higher resolution)
- 6.3 ms electronic shutter imaging sensor readout speed vs. 14.5 (the faster readout speed is most advantageous for fast movement)
- DIGIC X plus DIGIC Accelerator vs. DIGIC X
- 6144-zone metering vs. 384-zone (more areas evaluated yields potential improvement in auto exposure results)
- Up to 1/32000 shutter speed vs. 1/16000 (extremely fast vs. really fast)
- Individual files are rapidly saved during pre-continuous shooting vs. a consolidated file written after the capture ends (the individual files create a significantly faster workflow in-camera and during post-processing)
- Upgraded AF system, including improved subject detection (especially for photographing subjects in motion)
- Eye Control AF vs. no (dramatically faster AF point or area positioning)
- AF at EV -7.5 vs. -6.5 (darker is better, but EV -6.5 is extremely dark)
- 5.76 million Dot EVF vs. 3.69 for improved viewing experience
- Blackout-free EVF vs. no (tracking a moving subject while continuously shooting is considerably easier)
- 14-bit with electronic shutter vs. 12
- Adjustable frame rates (30, 20, 15, 12, 10, 7.5, 5, 3, 2, and 1 fps)
- 2.1 million dot LCD vs. 1.62 million
- In-body image stabilizer provides up to 8.5 stops of shake correction vs 8 (while 8.5 is better than 8, the difference seems modest)
- Up to 8k DCI 60p RAW, 4k DCI 60p SRAW, 4k DCI 120p MP4, 2k DCI 240p vs. 6K 60fps, 4K UHD 60 fps, FHD 180 fps
- Full-size HDMI Type-A port vs. micro type D
- Tally lamp vs. no (informs subject that movie is being recorded)
- 802.11ax Wi-Fi 6E and 6 (6, 5, and 2.4 GHz) vs. 2.4 GHz
- CFexpress Type B plus SD vs. dual SD (CFexpress Type B is considerably faster but larger and more expensive)
- Neural Network upscaling (2x larger in both dimensions to 179 megapixels) and noise reduction processing in camera
- Includes a top LCD panel
- Speedlite shooting with electronic shutter supported
- Slightly raised Magnify, Info, and Q buttons
- New LP-E6P battery pack
That is a solid list.
Here are the R6 II's advantages:
- Up to ISO 102400 and 204800 vs. 51200 and 102400 (at the same ISO settings, the R6 II will have less noise when viewed at the pixel level. However, the R5 II image properly downsampled to 24 MP should appear similarly clean. The highest ISO settings are unusable)
- 40 fps vs. 30 (having faster continuous shooting available is an advantage, but 30 fps is really fast)
- 6K 60p ProRes RAW available (external recording only, with in-camera FHD proxy, 10-bit)
- Lower price
While few would choose the R6 II over the R5 II for features and capabilities, that last bullet, the lower price, makes this camera a great value and a top seller.
If you have not already done so, order the R5 II immediately if you have even a remote interest in it.
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Is upgrading to the Canon EOS R5 Mark II from the EOS R5 worth the upgrade cost?
Check out the R5 II vs. R5 specification comparison along with the visual comparison of these cameras. What are the differences between the Canon EOS R5 Mark II and the R5? Here are the R5 II's advantages:
- 45-megapixel backside illuminated (BSI) imaging sensor vs. non-BSI
- 30 fps full-bit depth (14) RAW frames per second vs. 20 fps 12-bit (30 is considerably faster than 20, which is also fast. Remember that focus bracketing uses the electronic shutter, which drops the bit depth to 12 on the R5)
- 6.3 ms electronic shutter imaging sensor readout speed vs. 16.3 (the R5 II is better suited for rendering fast action, such as a bird taking flight)
- Pre-continuous shooting (hindsight is far clearer than foresight, and recording an image of an action in the near past is game-changing)
- DIGIC X plus DIGIC Accelerator vs. older DIGIC X (enables processing performance improvements)
- Up to 1/32000 shutter speed vs. 1/8000 (extremely fast compared to what was historically the fastest)
- Significantly upgraded AF system, including improved subject detection (vast improvement, especially for photographing subjects in motion)
- Eye Control AF vs. no (dramatically faster AF point or area positioning)
- AF at EV -7.5 vs. -6 (darker is better, but EV -6 is already extremely dark)
- 6144-zone metering vs. 384-zone (more areas evaluated yields potential improvement in auto exposure results)
- Brighter and blackout-free EVF vs. no (tracking a moving subject while continuously shooting is considerably easier)
- In-body image stabilizer provides up to 8.5 stops of shake correction vs 8 (while 8.5 is better than 8, the difference seems modest)
- Adjustable frame rates (30, 20, 15, 12, 10, 7.5, 5, 3, 2, and 1 fps)
- Up to 8k DCI 60p RAW, 4k DCI 60p SRAW, 4k DCI 120p MP4, 2k DCI 240p vs. 8K 30p RAW, 4K DCI to 120 fps (the video capabilities are noticeably improved)
- Canon Log 2, Log 3 vs. Canon Log
- Simultaneous proxy recording at 8K 30p MP4 with Full HD MP4 proxy
- Pre-recording (3 or 5 seconds) (hindsight is far clearer than foresight)
- Waveform monitor, false color, and tally lamp vs. no
- Full-size HDMI Type-A port vs. micro type D
- Longer record times before overheating, with cooling vents and the CF-R20EP cooling fan grip is available
- Integrated workflow with Cinema EOS, RAW/MP4
- Anti-flicker along with High-Frequency Anti-Flicker that evaluates the scene and precisely adjusts the shutter speed to avoid banding and flicker, including from LED signage
- Speedlite shooting with electronic shutter supported
- Next-generation multi-function shoe capable of data communication and power delivery supporting new accessories
- Neural Network upscaling (2x larger in both dimensions to 179 megapixels) and noise reduction processing in camera (with JPG output only)
- SuperSpeed Plus USB 3.2 Gen 2 USB Type-C vs. 3.1 Gen 2
- 6, 5, and 2.4 GHz Wi-Fi vs. 5 and 2.4 GHz
- Power switch was moved to right side, a stills and video switch replaces the former power switch (the switch capability is a big upgrade, but the shape and position will drive R5 users crazy)
- Slightly raised Magnify, Info, and Q buttons (the raised buttons are easier to locate, especially in the dark)
- New LP-E6P battery pack
- Slightly lighter
What are the Canon EOS R5 advantages over the R5 II?
- Now discounted for a lower cost
The R5 II has the overwhelming advantage in all regards aside from price. Especially if your subjects moves, the R5 II is worth the upgrade cost.
However, the R5 is an outstanding camera, and the release of the R5 II does not change that. Especially with the R5 substantially discounted (while it lasts), those with less demanding needs may find that the R5, having the same resolution, is sufficient and that the R5 II is not worth the additional cost.
Landscape photographers must weigh the R5 II's advantages more carefully than wildlife and sports photographers. Videographers will prefer the R5 II.
If you have not already done so, order the R5 II immediately if you have even a remote interest in it.
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